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오희숙,정정의,유형빈 全南大學校 師範大學 科學敎育硏究所 2002 科學敎育硏究誌 Vol.26 No.1
This study is about a survey on sex education, knowledge about sex, consciousness of sex, attitude towards sex and the actual state of going on dates among junior high school students, analyzing whether there is any difference among megapolis, other cities, and some counties, 1 make an attempt to get the basic materials for the right sex education and the right guide for students based on this survey and analysis. The objects of this survey are the third year students in megapolis and Jeonnam. The result from surveying and analyzing is like these. There are some differences among areas on the actual state of sex education; the students in megapolis who got sex education from teachers in charge of sex education through watching video; the students in other cities who got sex education from teacher related to sex education; those in counties got sex education from nurse teachers . There’'s no difference among areas on knowledge about sex; the students in megapolis got to know about sex from their friends, the ones in cities from teachers, and the ones in counties from teachers and TV. There are some differences among areas on consciousness of sex and attitude towards sex; the students in cities feel shy; those in megapolis and in counties feel interested. 51.7 per cent in cities and 44.7 per cent in counties often feel sex impulse 15.3 per cent in megapolis, 21.1per cent in counties and 6.1 per cent in cities do masturbation. There’'s difference in solving worries from sex; the students in megapolis talk with friends; those in cities does with parents. What they are worried are their physiologies and the degree of their physical growths. 52.5 per cent of parents in counties, 44.8 per cent in megapolis and 41.4 per cent in cities aren't interested in their kids’' worries about sex; there are some differences. 18.9 per cent of the students have boy or girl friends and 35.9 per cent want to go on dates; there’'s no difference. In the actual state of going on dates, there are some differences among areas only in the degree of going on dates and the reason they want to go on dates. Compared with other areas, more students in cities have good feeling toward opposite sex. To generalize mv result of survev. more students auestioned and the development of standardized questions and systematic research are needed.
20세기 후반의 음악적 흐름 고찰 : 펜데레츠키(K. Penderecki)의 음악을 중심으로 Studien zur Musik von K.Penderecki
오희숙 이화여자대학교 음악연구소 1997 이화음악논집 Vol.1 No.-
Die Musik des 20.Jh. ist so vielf ltig, da die Geschichtsschreibung ber diese Musik sehr problematisch ist. In der Musik des 20. Jh. ist die Individualita¨t viel wichtiger als die Allgemeinheit. Besonders problematisch ist die Geschichtsschreibung des zweiten H lfte des 20. Jh. In dieser Zeit entstanden sehr vielf ltige musikalische Tendenzen wie serielle Musik, elektronische Musik, Klnagfabenkomposition, Minimal Musik, Neue Einfachheit nsw. In dieser Studie wurde versucht, die Tendenz dieser Weit geschichtlcih zu ordnen. Dafu¨r ist der vertretende Komposition der zweiten H lfte des 20. Jh., und zwar krzysztof Penderecki gew hlt, der durch den ha¨ufigen Wechbsel des seinen kompositorischen Stils die Tendenz dieser Zeit konkret zeigt. Der Jahrhandertmitte kommt die Bedeutung einer tiefgreifenden Wende zu, insofern <avantgaridstisches Denken> sich im internationalen Masse einer Kultur der "Neuen Musik" durchsetzte. Um 1950 entwickelt sich einerseits die Seielle Musik(K. Stockhausen, P.Boulez), andereseits die Zufallsmusik(J.Cage) in den USA. Also erfolger die Zuspitzung deskonstruktiven Werkbegriffs im Seialismus der europ ischen Moderne ewt zur gleichen Zeit wie seine Liqujdation in der amerikanischen Avantgarde. In dieser Situation tritt Penderecki als bedeutende avantgardische Komponist auf. Zum Beispiel ist sein Werk "Anaklasis" eines der ersten Werke, die als Beginn der Abl sung serieller Techniken angesehen werden m ssen; ihr prim res Gestaltungsmittel stellt die Klangfarbe dar.Daneben verwendet er vielf ltige Cluster- und Glissnadi-Technik, durch die er eine neue Klangfarbe erzeugt. Aber seit Mitte der 60er Jahre, besonders seit "Lukas-Passion"wird diese avantgardisch Tendenz allm hlich zur ckgetreten, daf r die traditionelle Tendenz - Form, Tonali t, Polyphony Technik usw- in den vordergrund getreten, Penderecki und seine zeitgen ssische Komponisten versucht nun, nicht das Neue, sodem die Kommunikation zwischen Musik und Publikum, die Innerlichkeit der Musik. Mitte der siebziger Jahre hat sich eine weitere Epochenz sur ereignet : der Abschied von "Avantgard" und "Moderne" als prima¨rer Paradigmata zeitgeno¨sischen Komponisten. In der Musik seit etwa 1970, die unter dem Begriff der <Postmoderen> verstanden werden kann, sich zwei Tendenze zu finden : enierseits in den Richtungen der Minimalmusik und Meditationdsmusik unter Anlehnung an au ereurop ischen Musik, andererseits in den
음악적 천재미학에 나타난 ‘예술가의 주체적 정체성’ 문제 연구
오희숙 연세대학교 음악연구소 2011 음악이론포럼 Vol.18 No.-
Accepting the musician as a genius means the concern for outstanding ability of human beings reflects the viewpoint of the emphasis on the artist's individuality, subjectivity, and especially the creativity. In this context, the aesthetics of genius provided the opportunity of establishing the autonomy of arts and the chance of reestablishing the social position of musicians. That is, on the one hand the formation of the concept of genius has a close relation with individual and artistic subjects and on the other hand, is closely related to the development of the Western music. However, does the word "genius" contain just positive meanings? In this thesis, I began with this question and researched the aesthetic meanings of "genius" in the aspect of the artist's subjective identity(subjektive Identität). And I've examined the process and characteristics of the 'identity' in the concept of artist a 'genius' and the relationship between 'genius' and the establishment of the artist's identity in the field of music. In this thesis, I've objectively examined whether the musician could have attained authentic identity as a subject of art as the musician got the recognition of being a genius or not. Then I have thought the internal meanings of representation or the rhetoric of 'artist as a genius'. And I looked on the problems of 'aesthetics of genius' which is so-called 'genius-ideology'. Throughout this process I've critically examined the hidden meanings of 'musical genius' and moreover groped the 'images of genius' which is contemporarily meaningful in the view of these times.